Ahmad Jamal Plays Wclk Benefit Concert
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The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
VPI HR-X Turntable & JMW12.6 Tonearm
stereophile.com http://www.stereophile.com/turntables/506vpi#5kC628WHPF3lKHV2.97 VPI HR-X turntable & JMW12.6 tonearm VPI Industries' TNT turntable and JMW Memorial tonearm have evolved through several iterations over the last two decades. Some changes have been large, such as the deletion of the three-pulley subchassis and the introduction of the SDS motor controller. Others have been invisible—a change in bearing or spindle material, for example, or the way the bearing attaches to the plinth. And, as longtime Stereophile readers know, I've been upgrading and evolving along with VPI, most recently reporting on the TNT V-HR turntable (Stereophile, December 2001). But about the time I was expecting the next iteration, designer Harry Weisfeld threw me a curve by unveiling a completely new turntable design, the HR-X. First shown in prototype form at Stereophile's Home Entertainment 2002 show in New York City, the HR-X is a stunning, milled-from-aluminum showcase of everything Weisfeld has learned from designing turntables for the past 25 years. Nuts & bolts Although the HR-X is a clean-slate design, it was obviously informed by the TNT. There are four corner towers with internal pneumatic bladders, a huge platter belt-driven by an outboard motor and flywheel, and a JMW tonearm mounted directly to a massive plinth. Beyond that basic configuration, however, everything is different— rethought, improved, optimized, and executed to the highest standard possible. It's immediately obvious that even VPI's workmanship and cosmetics have been raised to new levels: the TNT was well-built and solid; the HR-X is striking and sumptuous. -
Indigo in Motion …A Decidedly Unique Fusion of Jazz and Ballet
A Teacher's Handbook for Pittsburgh Ballet Theatre's Production of Indigo in Motion …a decidedly unique fusion of jazz and ballet Choreography Kevin O'Day Lynne Taylor-Corbett Dwight Rhoden Music Ray Brown Stanley Turrentine Lena Horne Billy Strayhorn Sponsored by Pittsburgh Ballet Theatre's Arts Education programs are supported by major grants from the following: Allegheny Regional Asset District Claude Worthington Benedum Foundation Pennsylvania Council on the Arts The Hearst Foundation Sponsoring the William Randolph Hearst Endowed Fund for Arts Education Additional support is provided by: Alcoa Foundation, Allegheny County, Bayer Foundation, H. M. Bitner Charitable Trust, Columbia Gas of Pennsylvania, Dominion, Duquesne Light Company, Frick Fund of the Buhl Foundation, Grable Foundation, Highmark Blue Cross Blue Shield, The Mary Hillman Jennings Foundation, Milton G. Hulme Charitable Foundation, The Roy A. Hunt Foundation, Earl Knudsen Charitable Foundation, Lazarus Fund of the Federated Foundation, Matthews Educational and Charitable Foundation,, McFeely-Rogers Fund of The Pittsburgh Foundation, William V. and Catherine A. McKinney Charitable Foundation, Howard and Nell E. Miller Foundation, The Charles M. Morris Charitable Trust, Pennsylvania Department of Community and Economic Development, The Rockwell Foundation, James M. and Lucy K. Schoonmaker Foundation, Target Corporation, Robert and Mary Weisbrod Foundation, and the Hilda M. Willis Foundation. INTRODUCTION Dear Educator, In the social atmosphere of our country, in this generation, a professional ballet company with dedicated and highly trained artists cannot afford to be just a vehicle for public entertainment. We have a mission, a commission, and an obligation to be the standard bearer for this beautiful classical art so that generations to come can view, enjoy, and appreciate the significance that culture has in our lives. -
Riverwalk for MS Educational Opportunity? WMCC Eyes Former
A1 GET OUT RiverWalk For MS FRIDAY, SEPT. 9, 2016 Page 14 Cyan Magenta Yellow Yellow Black Educational Opportunity? WMCC Eyes Former Hitchiner Manufacturing Building. Page 4 A2 2 The Record Friday, September 9, 2016 What’s Inside Friday, Sept. 9, 2016 Educational Vol 8, No. 12 Opportunity? Bath w Bethlehem w Dalton w Easton w Franconia w Lancaster w Landaff w White Mountains Community College is studying the Lisbon w Littleton w Lyman w Monroe former Hitchiner Manufacturing facility as a possible Sugar Hill w Whitefield w Woodsville Littleton site for the Berlin-based school, though the college president on Tuesday said the process just be- gan and no decision has been made. www.caledonianrecord.com See Coverage Page 4 Publisher Todd Smith There’s a fight on in Bethlehem after a group of abutters appealed the Zoning Board of Adjustment Managing Editor Abutters Move To special exception granted in July for the proposed Paul Hayes Affordable Housing, Education and Development [email protected] Block Apartments (AHEAD) workforce housing development. Advertising (Littleton) See Coverage Page 5 Sylvie Weber (603) 444-7141 (Ext. 1006) Cyan If you’ve ever gone to the Caledonia County or Fax: (603) 444-1383 Lancaster Fairs, chances are you’ve seen Robillard’s [email protected] Apple Crisp. Apple Crisp A Magenta Advertising (St. Johnsbury) See Coverage Page 13 (802) 748-8121 Family Affair Fax: (802) 748-1613 Yellow Yellow [email protected] Editorial Offices:263 Main Black St., Littleton, N.H. FYI On The Cover Little Information Available About In This Issue Fatal Equestrian Accident News Briefs LANCASTER, N.H. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents. -
Rare and out of Print LP Vinyl Records for Sale – Jazz & Rock
http://www.artpane.com תקליטי ויניל למכירה לאספנים - גאז', רוק ואתני רשימה מספר 1 אם ברצונכם בתקליטים מרשימה זו, התקשרו ואשלח תיאור מפורט, מחיר, אמצעי תשלום ואפשרויות משלוח. אשמח גם לספק מידע נוסף בקשר לתכנו של כל תקליט לפי בקשתכם. Rare and vintage LP vinyl records for sale - jazz, rock and ethnic List No 1 http://www.artpane.com/Music/M1002.htm Once you have made your selection from the record list, contact me at the address below and I will send you further information including full description of the record, price and estimated shipping cost. Contact Details: Dan Levy, 7 Ben Yehuda Street, Tel-Aviv 6248131, Israel, Tel: 972-(0)3-6041176 [email protected] Rare and out of print LP vinyl records for sale – Jazz & Rock Louis Armstrong - 2 Facets of Louis - Jazz Party - Vinyl LP - 1-S 52740 - Columbia Louis Armstrong - Sidney Bechet - Vinyl LP - MPD 250 - Ahmad Jamal - Freeflight - Vinyl LP - AS 9217 - Impulse Ray Bryant - Sound Ray - Vinyl LP - LPS 830 - Cadet Ray Bryant - Up Above The Rock - Vinyl LP - LPS 818 - Cadet Lee Morgan - The Sixth Sense - Vinyl LP - BST 84335 - Blue Note Milt Jackson & Ray Charles - Soul Brothers - Vinyl LP - SD 1279 STA 11511 PR - Atlantic Milt Jackson & John Coltrane - Bugs & Trane - Vinyl LP - SD 1368 STA 61317 PR - Atlantic Thelonious Monk - Blue Monk - Vol 2 - Vinyl LP - PR 7848 - Prestige Herbie Hancock - V.S.O.P - Vinyl 2xLP Album - CBS 88235 CBS 81949 - CBS Herbie Hancock - Treasure Chest - Vinyl 2xLP Album - 2WS 2807 S40 - Werner Bros Eric Dolphy - Eric Dolphy At The Five Spot - Vinyl LP - PR 7826 - -
DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Dick Sisto's Interpretation of "Everytime We Say Goodbye."
Sound Enhanced Hear the recording of the transcribed solo in this article in MP3 format at the Members Only section of the PAS Web site at www.pas.org Dick Sisto’s Interpretation of “Everytime We Say Goodbye.” TRANSCRIBED BY JOHN WILMARTH f you haven’t heard jazz vibraphonist understanding of this solo. He generally conjunction with learning the written Dick Sisto, you’re in for a pleasant plays with a smooth and connected, part. So check it out in the Members Isurprise. His playing style combines legato phrasing. Sisto’s rhythmic feel is Only section of the PAS Web site at the four-mallet innovations and harmonic difficult to transfer into standard nota- www.pas.org. sophistication of Gary Burton with the tion. He often pulls and pushes the time For information on Dick Sisto’s record- bluesy soulfulness and bebop vocabulary within a phrase much like a singer would ings, visit www.dicksisto.com. of Milt Jackson. interpret a melody. This is best under- Sisto, however, cites Ahmad Jamal, stood through listening to and imitating John Wilmarth is an active performer and Bill Evans, and Miles Davis as his great- the recording. educator who is pursuing a master’s de- est influences. These players’ lyricism, Dynamic contrasts give his playing gree in percussion performance at the phrasing, and use of space greatly af- more depth, suggesting counter-melodies University of Iowa under the direction of fected him. But perhaps the greatest im- within a linear, or two-mallet, context. Dan Moore, and who is a teaching assis- pact these players had on Sisto was to Performers should exaggerate the dy- tant for the UI Jazz Studies program. -
Ahmad Jamal Interview 16 November 2011
Ahmad Jamal Interview 16 November 2011 Q: After some great albums for the Dreyfus label [Francis Dreyfus had died in 2010], you have moved to Harmonia Mundi’s Jazz Village label, so how did this new deal come about? AJ: It came about through Seydou Barry, an associate of mine, he is the first man to bring me to Marseilles, he arranged that session. Q: A lot of thought goes into an Ahmad Jamal album, so how did you conceptualise Blue Moon? AJ: Well, Blue Moon is an interesting project, it turned out much better that I anticipated. I think it is going to be received very well, I think it’s going to be of the calibre of 628 [Argo LP-628 But Not For Me: At the Pershing], my million seller that I did for Chess Records, sometime back. [In the event Blue Moon received a Grammy nomination] It’s comparable to that quality-wise, in fact, I think it is going to make on the recording industry. We need a shot and this is a shot for me, I’m with some brilliant musicians, as was the case with Vernel Fournier and Israel Crosby, so I have some brilliant musicians on this as well, Reginald Veal, on bass, Herlin Riley on drums and one of the great percussionists, Manolo Badrena, who was with Joe Zawinul’s Weather Report, so this is a very well thought out project Q: Well the song ‘Blue Moon’ is a lovely standard, its been around a while, as long as you, dare I say, since the 1930s if memory serves, so what was your approach to it? AJ: My approach was like I always do — I have ideas that are catalysts for arrangements and I had an idea at home playing on one of my Steinways, I have two at home, and this particular time I was playing a line that was dictated by ‘Blue Moon’, so I wrote this bass line, and it starts the whole thing off [of an arrangement of the tune]. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
The Evolution of PASIC by Gary Cook
The Evolution of PASIC By Gary Cook n this our 50th anniversary year cel- tradition was established of holding annual be started by the ebration of the Percussive Arts Soci- business meetings in conjunction with the Executive Secretary ety, articles appearing in the previous Midwest Band Clinic at the Sherman House report and summary three issues of Percussive Notes have in Chicago. (The Sherman was chosen be- of P.A.S. activities Ichronicled the history of the Society up to cause of its central location and the fact that in the last ten months. With the status of 1990. These articles have included the birth many of the founders annually came to the P.A.S. clearly in our minds the discussion of the Society and its publications, advent of Clinic.) [Author’s comment: This 1960 din- will be centered around several basic topics. PAS chapters, inception of the museum and ner meeting resulted in the legendary photo These will be those most often mentioned in headquarters, and have mentioned briefly of many of the founding fourteen members correspondences, discussions, and business what has become perhaps the most integral of PAS.] On December 20, 1963, the first sessions throughout these last months and part of PAS––our conventions. Many mem- general meeting of the PAS membership took should therefore be of vital interest to the bers may recall the publication Celebrating 30 place in the Louis XVI Room of the hotel. entire membership. Years of PASIC, which was unveiled at PA- The practice of holding separate Board of The local hosts will be our members from SIC 2005 in Columbus and contained short Directors and membership meetings, fol- the Chicago area with Gordon Peters of our year-by-year reminiscences by convention lowed on the next day by breakfast, was Editorial Staff as Chairman.